for
roda
carioca
from JazzTimes October 2006
review by Rebeca Mauleón
After over a decade on the forefront of the Brazilian scene in Seattle, pianist-composer Jovino Santos Neto returns to his native city of Rio de Janeiro to unite with some of his former Hermeto Pascoal colleagues as well as with the avant-garde maestro himself, for a high-energy offering of modern and mostly original music.
From the percussive opener, "Estrela do Mar" ("Starfish"), one senses the spirited power of the group, consisting of the core rhythm section of Rogério Botter Maio on bass and Marcio Bahia on drums, with Neto taking the melodic helm in this rollicking 5/4 groove. The pianist also plays melodica, flutes and accordion on a number of the tracks, yet the overdubbed elements do not in any way detract from the intimate live feel of the recording.
Mandolin virtuoso Hamilton de Holanda is explosive on the rhythmically dense third cut, "Gente Boa" ("Nice Folks"), and Hermeto Pascoal lends his multi-instrumental and compositional genius to "Juvenal no Grumari", playing everything from water glass to chewing gum wrapper (sugarless, of course!). Vocalist Joyce lends her sultry scatting talents to "Nanã", with other guests on the recording including acoustic guitarist Marcos Amorim and young harmonica artist Gabriel Grossi, whose exquisite playing embellishes Neto's Bach- inspired chorinho "Bach-te-vi".
All is all, Roda Carioca is a joyous journey of good friends and new young players on the modern Brazilian frontier.
from Brazzil.com (May 2006)
review by Bruce Gilman
Pianist, composer, and multi-instrumentalist Jovino Santos Neto falls into that select group of musicians who have a massive dose of talent and an original vision. A self-professed disciple of Hermeto Pascoal, with whom he played for 15 years, Santos Neto displays a similar angularity, rhythmic asymmetry, and combination of the traditional and the revolutionary.
His music can be equally as dissonant, surprising, and intriguing, and like his mentor's, unfold with kaleidoscopic swirls of ongoing improvisation. Putting his fingers where his thoughts are, Santos Neto has the ability to send melodic lines in any direction at any moment, which may be a leftover of Hermeto's inevitable influence, but more truly indicates the spirit of his musical intuition and his identifiable compositional style. Santos Neto's capacity for harmonic fantasy and his quixotic sense of adventure are unmistakable throughout his new CD, Roda Carioca.
Santos Neto is a believer in giving as much creative freedom as is practical to his musicians, and as a consequence the quality of his work depends to some extent on his sidemen. On Roda Carioca, he is well served by players who, rather than splitting the seams of his tunes, enhance his original conception.
Rogério Botter Maio (acoustic bass) plays beautifully throughout, eschewing the impulse to overplay and fill in too many gaps, and Marcio Bahia (drums and zabumba), having an acute appreciation of the variety of sounds capable of being produced from a drum kit, is the soul of assertive drive.
Although these three have not recorded a trio album before, they are simpático and long-standing colleagues whose playing sits together seamlessly. Tingling with exuberant invention, Roda Carioca also makes judicious use of a number of soloists, with Hermeto himself being the most persuasive in that role.
The disc's unusual timbral palettes and its variety of forms - baião, coco, choro, and marcha rancho as well as odd-metered sambas - set out a radical program somewhat similar to music Santos Neto delves into on prior recordings. As wide-ranging in form and imaginative in content as they are, his earlier albums give only a partial account of his talents.
The tunes in this varied program display Santos Neto's incredible ear not only for instrumental blends, but also for angular designs, which is nowhere more evident than on the odd-metered opener "Estrela do Mar" (Starfish). Here, Rogério Botter Maio's bass solo, superbly inventive, is consistently lyrical, his dancing lines punctuated by percussive stabs by Marcio Bahia whose value as a sensitive painter of rhythmic sounds emerges. Voicings, colors, and polyrhythms are masterful.
Following it up is "Marfim" (Ivory), an unabashed baião with Santos Neto executing sinuous and unpredictable lines on both melodica and piano, and Marcio Bahia floating comfortably across bar divisions and jousting with Botter Maio while still providing exemplary group punctuation.
After those first two tunes, any other would seem to be anti-climatic, but each additional piece has reasons for further fascination. "Gente Boa" (Nice Folks) is a feast of penetrating playing by two masters of their instruments, Santos Neto and Hamilton de Holanda, who blur the boundaries between improvisation and composition.
Another pairing, that of two transcendent Brazilian lyricists, Joyce and Santos Neto, is one of the great exemplars in the art of intimate conversation. Their lacing up Moacir Santos's "Nanã," is an illustration of focused spontaneity. Says Joyce, "We did it all live, of course, as it should be, and had great fun. The trio was amazing; it was a real joy to work and interplay with them."
On "Festa de Erê" (Children's Party), a samba in 3/4, Santos Neto produces driving keyboard excitement, letting his fingers and feet dictate colors, and projecting notes with pinpoint velocity. Harmonically shrewd and rhythmically daring, this tune is virtually an aural drama on its own terms.
One of the most memorable and impressive tracks is "Coco na Roda" (Coco in the Circle), Santos Neto's tribute to Jackson do Pandeiro, which acquires instrumental texture not only from its multi-tracked flutes and accordion, but also Fabio Pascoal's percussion contributing so much to the rhythmic depth and complexity of the tune. Botter Maio and Bahia are hand in glove on "Homeopatia" (Homeopathy). Their anticipation of each others' moves marry tension to an inexorable flow giving the dialogue between piano and rhythm section a balanced mixture of the prepared and the extemporized.
Juvenal is Hermeto's nickname for Jovino. Grumari is Jovino's favorite beach in Rio. "Juvenal no Grumari" (Juvenal in Grumari) is a 7/4 theme that Hermeto used for exchanging a string of solos at rehearsals for O Grupo, raising then relaxing tension while constantly building momentum and placing soloists under pressure.(1)
On Roda Carioca, Hermeto, demonstrating his ability to build detailed, thematically linked solos from sounds beyond the scope of convention (a gum wrapper, a euphonium mouthpiece, a glass of water, a melodica), works out his ideas and develops them (joking with quotes) into a logical whole, making this a performance to put nearly all others in the shade.
Guitar player Marcos Amorim, whose gift for lyric invention, his lines seeking out unusual harmonic nuances, brings a lithe elegance to "Rancho Azul" (Blue Ranch). With its dreamy groove, insinuating minor mode, and underlining rhythm derived from syncopated marching band traditions, this arrangement, sustains an infectious flow with sparkling detail.
Inspired by J.S. Bach, the choro "Bach-te-vi" is a superb demonstration of Brazil's young lion of the harmonica, Gabriel Grossi. Alternating reverie with passion, Grossi brings knife-edged clarity to each phrase in focused bursts of melody. Cementing it all together is the ESP-like rhythm section whose inquisitive spirit and risk-taking provides a constant source of heat.
"Cerca do Macaco" (The Monkey Fence) is a feisty, tight trio performance named after the site of the Palmares quilombo and packed with musical empathy.(2) Botter Maio, a bass player who reads his colleagues well, is smart as a whip, Bahia balances his work from whisper to shout with both taste and subtlety, and Santos Neto is, as always, unfussily virtuosic, aggressive without being bombastic. This is a trio in the truest sense of the term - like-minded musicians at work, each making important contributions to the whole.
All true musicians recognize performances of special magic and integrity. From the opening notes of Roda Carioca, the listener knows he is in for a memorable musical experience. Aside from the balance between compositions and their arrangements, there are standout trio and solo contributions throughout.
One of the disc's most absorbing features is hearing those inimitable harmonic fingerprints that define Santos Neto's musical personality not only the vast imagination he possesses, but also the effortless technique at his disposal.
Beautifully crafted and expertly played, Roda Carioca reveals a complete artist - composer, arranger, soloist, multi-instrumentalist, and ensemble leader - whose artistic sensibility and poetic playing creates a hypnotic authority that haunts the memory.
Notes:(1) O Grupo endures as an ensemble whose individual strengths and stylistic innovation was a musical strike of lightning, its influence echoing still, its repetition, unlikely.
(2) Palmares was a remarkable politically and economically thriving community of fugitive slaves in Alagoas state between 1630 and 1697.
***
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Edición Nº 12
Roda Carioca
Adventure-music Records - 2006
Una vez más nos encontramos frente a una producción como pocas, con un
calidad musical y una propuesta estilística sino diferente, que nos
presenta una diversidad tan rica en sonidos, ritmos como con una
musicalidad que, dentro de la vanguardia, no descuida lo contemporáneo.
El excelente pianista que es Jovino Santos, en Roda Carioca (Rueda
Carioca) nos presenta su propuesta dentro del contexto de unir,
reunir, acomodar, y dar vueltas sobre el formato de trío clásico:
Piano, bajo y batería, en un recorrido por distintas épocas de su vida
musical, como compositor y ejecutante. En este trabajo además, rinde
tributo a los grandes músicos brasileños y los de su predilección como
lo son Moacir Santos, Mario Telles y Hermeto Pascoal. Sambas, Choros,
Chorinhos, Gafieira, Baiao, Marcha rancho, todos combinadas y
misturados con la musicalidad y estilística del jazz propia de Jovino,
hacen de este material, un exquisito trabajo, ineludible y necesario.
La presentación gráfica del material, merece una mención aparte:
delicada, completa y donde uno se siente atendido, gratificado. (JR)
.com
***
Featured Artist: Jovino
Santos Neto
CD Title: Roda Carioca (Rio Circle)
Year: 2006
Record Label: Adventure Music
Style: Brazilian Jazz / Brazilian Pop Jazz
Musicians: Javino Santos Neto (piano, melodica, flutes, accordion, agogo,
hand-claps), Rogerio Botter Maio (acoustic bass, hand-claps), Marcio Bahia
(drums, zabumba, hand-claps) Special guests listed below
Review:
The Portuguese word roda translates as “wheel,” but it is also refers to a
circle around which musicians play and dancers dance. On his latest
Brazilian-jazz release, Roda Carioca (Rio Circle), pianist Jovino Santos
Neto embraces this term on many levels. Santos Neto, who has recently
appeared on Liquid City releases, featuring Seattle-based ensembles—his last
Canto de Rio (2003), nominated for a Latin Grammy award—calls upon a handful
of standout guest players such as Hermeto and Fabio Pascoal, Hamilton de
Holanda, Joyce, Marcos Amorim and Gabriel Grossi. Undoubtedly, with this
expanded circle of Brazilian friends, Neto’s musical ambitions are realized
on Roda Carioca. As Santos Neto reveals in the liner notes, this project was
especially rewarding because it was his first opportunity to record in his
hometown, Rio de Janeiro.
Newcomers to the Latin jazz piano scene will discover that Roda, in many
respects, is stylistically on par with Danilo Perez’s recent release,
Motherland. Both include wonderful musicianship from guest artists—for
example, strong vocals from Joyce and Luciana Souza, and polyrhythmic magic
from each album’s perspective percussionists and bass players. Whereas
Santos Neto draws on a wealth of Brazilian styles such as samba, baiao,
choro and marcho rancho, Perez’s Panamanian roots are firmly ingrained in
his playing. However, both Santos Neto and Perez are omnivorous, pan-Latin
jazz players, who organically blend numerous styles to create wholly
original music.
Roda begins with the amazingly natural 5/4 “Estrela Do Mar” (“Starfish,”
which has five arms, of course). This cut establishes the tone for the rest
of the album, which is: interesting melodies and solos coupled with solid
rhythmic underpinnings. Other highlights on the album are “Gente Boa” (“Nice
Folks”), de Holanda’s mandolin showpiece; the catchy “Coco Na Roda” (“Coco
in the Circle”), which includes Santos Neto doubling on flute; Amorim’s
light acoustic guitar voicing on “Rancho Azul” (“Blue Ranch”); and
“Bach-Te-Vi,” a Bach-inspired minor choro featuring Grossi’s Toots Thielman-like
harmonica playing.
The CD package not only includes Santos Neto’s own notes on the players and
the compositions themselves, but also a 15-term Brazilian Music 101
glossary, extremely helpful for the neophyte. For the listener, Roda will
also hopefully serve as a window into the incredibly vast world of Brazilian
music—MPB (musica popular brasileira), bossa nova, samba, and choro. Just a
word of warning: Once you take the Brazilian plunge, there’s no return.
Tracks: “Estrela Do Mar” (“Starfish”), “Marfim” (“Ivory”), “Gente Boa”
(“Nice Folks”), “Nana,” “Festa De Ere” (“Children’s Party”), “Coco Na Roda”
(“Coco in the Circle”), “Homeopatia” (“Homeopathy”), “Juvenal No Grumari”
(“Juvenal in Grumari”), “Rancho Azul” (“Blue Ranch”), “Bach-Te-Vi,” “Cerca
Do Macaco” (“The Monkey Fence”)
Record Label Website: http://www.adventure-music.com
Reviewed by: Mark Strohschein
________________________________________
Copyright© 2006 JazzReview.com®. All Rights Reserved.
***
Concludiamo quest'escursione
nell'universo sonoro di Adventure Music parlandovi dell'ultima uscita
dell'etichetta, a nome del pianista Jovino Santos Neto che, con il suo trio
completato dal contrabbassista Rogerio Botter Maio e dal batterista Marcio
Bahia, si lancia in atmosfere a tutti gli effetti latin-jazz per realizzare
la sua Roda Carioca.
Il pianista mostra grande tecnica ma soprattutto una notevole sensibilità
nell'organizzazione dei brani, che risultano sempre ben calibrati e con
parti solistiche sempre molto misurate.
Numerosi gli ospiti che si aggiungono al trio nei vari brani di questo
disco. Tra essi emerge senza ombra di dubbio quello straordinario alchimista
di suoni che risponde al nome di Hermeto Pascoal, che di Santos Neto è stato
anche maestro.
Tra i brani vanno menzionati l'iniziale "Estrela do Mar" (in 5/4), "Marfim"
(dedicata al citato Pascoal ed eseguita da Santos Neto alla melodica),
"Nana" (composta da Moacir Santos e qui cantata da Joyce). Su tutti,
comunque, "Juvenal no Grumari" composta da Hermeto Pascoal, musicista che,
dopo un bell'assolo di piano del leader, si ritaglia uno straordinario
momento solistico esibendosi, oltre che con la melodica, soffiando in un
bocchino da euphonium, parlando in un bicchier d'acqua e masticando
chewing-gum.
Gran bel disco, non c'è che dire.
Costabile Gentilcore
***
Give
Adventure Music some love as well. The Jovino Santos Neto "Roda Carioca"
is a profound statement on where traditional Brazilian music is going. A
similar movement is happening in Latin jazz with the likes of Danilo Perez,
Manuel Valera, Miguel Zenon and a few others.
from www.musicabrasileira.org, by Egídio Leitão:
With each new album Jovino Santos Neto releases, he continues his amazing
trajectory to solidify his position as a first-rate Brazilian
instrumentalist, and at the same time he stays close to his roots as one of
Hermeto Pascoal's band members. Following his 2003 release with Mike
Marshall, Serenata - The Music of Hermeto Pascoal, Jovino wasted no time in
coming back even better. It is clear to see that he saved a lot of goodies
for Roda Carioca (Rio Circle). This album brings nine dynamite pieces he
wrote himself and two other numbers: Moacir Santos' classic "Nanã" -- with
Joyce's unmistakable vocals -- and Hermeto Pascoal's "Juvenal no Grumari."
The musicians Jovino Santos Neto (piano, melodica, flutes, accordion,
percussion) invited to share this wonderful production are right there on
top of their game. On bass we have Rogerio Botter Maio -- you must remember
his 2000 Aprendiz release and the praises he got, including Guinga's words
"suggestive, modern, rich" -- and on drums and zabumba Marcio Bahia. To add
more spice to the mix, special guests featured are Hermeto Pascoal (voice,
melodica, euphonium mouthpiece), Hamilton de Holanda (10-string mandolin),
Fabio Pascoal (Hermeto's son; percussion), Joyce (voice), Marcos Amorim
(acoustic guitar) and Gabriel Grossi (harmonica).
Roda Carioca opens with a straightforward jazz number in which Jovino,
Rogério and Marcio get down to business right from the start. "Estrela do
Mar" sometimes might even make you think of "Take Five," but make no
mistake. Jovino's piano solos make room for Rogério's delectable bass lines
along with Marcio's commanding drums performance. Shifting promptly to a
bouncy baião, Jovino alternates dazzling solos on the piano, melodica and
accordion in "Marfim." This is a non-stop Brazilian trip. From baião, we go
on to an infectious gafieira in "Gente Boa." Hamilton de Holanda's featured
10-string mandolin is magical in this number. And what is to say about
Moacir Santos's "Nanã"? If the piece were performed only instrumentally, you
would already be satisfied. Nevertheless, Jovino pushed the envelope and
added the vocal pirouettes that only Joyce can do without neglecting great
instrumental solos throughout this arrangement. Another visit to the
Northeast of Brazil comes up with "Coco na Roda," a nice tribute to the
great Jackson do Pandeiro. The trio alone comes back in the gentle samba "Homeopatia,"
with a tight melody and just the right amount of swing. Lending a hand in
this number, Hermeto's son, Fabio, takes care of the percussion. Speaking of
Hermeto, the Wizard shows what he's known for in "Juvenal no Grumari."
Performing a euphonium mouthpiece, a chewing gum wrapper, a glass of water
and a melodica in this devilish arrangement, Hermeto is absolutely
outstanding. The trio meets the master with no hesitation in what is
probably the most amazing piece in the album. Naturally, after such a lively
piece, it's only natural that Marcos Amorim's acoustic guitar takes things
down a bit to a soothing march in "Rancho Azul." Just don't settle down
quite immediately. With the choro "Bach-Te-Vi," Gabriel Grossi's harmonica
solo will get you going back up again with this nice mixture of Bach and
Brazilian choro.
Alluring surprises, infectious rhythms and skilled performances are present
in all tracks of Roda Carioca. If you like good instrumental Brazilian music
with fresh melodic lines, Jovino Santos Neto has recorded just what you're
looking for with Roda Carioca. Get in the circle and enjoy the Rio sound you
have here.
***
from soundsoftimelessjazz.com
RODA CARIOCA features Jovino Santos Neto collaborating with some of
the best Brazilian performers to deliver 11 fresh interpretations of Neto’s
vast repertoire of musical styles. The compositions celebrate the joy of
making music together in a circle formed in the City of San Sebastian of the
River of January. With nine of his original compositions making up this
delightful set, the Brazilian composer/pianist expands his notoriety as a
writer of innovative Brazilian jazz and pop. Two covers “Nana” and “Juvenal
No Grumari” establish his special guests (which includes Hermeto Pascoal who
wrote and plays on “Juvenal No Grumari”) as brilliant writers for jams and
improvisations. The set opens with a trio version of “Estrela Do Mar,”
(Starfish) a 5/4 groove that allows Neto to interpret the melody more freely
than he has when playing the song in larger ensembles. “Marfim” (Ivory) is a
baiao. Neto plays the melodica for the first time on one of his recordings.
The use of repeated notes is a characteristic of the music of Northeastern
Brazil and offers listeners a wide array of expressions obtained by
modulating his breath and tonguing techniques. “Gente Boa” (Nice Folks) is a
gafieira style samba and is the ideal vehicle for Hamilton de Holanda’s
amazing mandolin playing while the Brazilian jazz standard titled “Nana”
written by Moacir Santos – one of Brazil’s greatest living composers – is an
ode to the orixa representing Mother Earth and is beautifully vocalized by
Joyce. “Festa De Ere” (Children’s Party) is a samba in ¾ time that makes you
move in a happy, carefree way while “Homeopatia” and “Cerca Do Macaco” also
sambas achieves their results with minimalist melodies and grooves. The
stylistic array continues with the festive title track which was inspired by
Jackson Do Pandeiro, a singer of cocos whom Neto admired as a child. “Rancho
Azul” (Blue Ranch) a marcha rancho that combines a slow groove with lyrical
melodies in a minor key and “Bach – Vi” a choro that features the gifted
harmonica artistry of Gabriel Grossi. The elegance, grace and happy feeling
derived from Neto’s piano playing is what makes this recording such a joy.
Jovino Santos Neto is joined by Rogerio Botter Maio and Marcio Bahia.
Special guests include Fabio Pascoal, Gabriel Grossi. Hamilton de Holanda,
Hermeto Pascoal, Joyce and Marcos Amorim. BUY RODA CARIOCA today.
***
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Review by Jonathan Widran
The barriers between classical
music, jazz, and indigenous Brazilian music have been obscured by Rio de
Janeiro-born and Seattle-based pianist, flutist, and composer Jovino Santos
Neto. A member of Hermeto Pascoal's legendary band from 1977 to 1992, Santos
Neto has continued to expand on his world music-influenced vocabulary. He
later built on his knowledge of Brazilian music during a stint with Airto
Moreira and Flora Purim's group, Fourth World, from 1993 until 1997. He also
worked with such artists as Mike Marshall, Richard Boukas, Celso Machado,
and Chitravina N. Ravikiran. For this lively, multifaceted, and percussive
from the get-go collection -- check out the frenetic piano-drum interaction
on the opening track, "Estrela do Mar" -- Jovino returned to his hometown,
where he recruited some of the country's most impressive performers to
contribute. It's fitting that the liner notes feature a glossary of
Portuguese cultural and musical terms, because the exciting set plays like a
vibrant musical encyclopedia of the musical spirit of his homeland. The joy
keeps growing through "Coco na Roda"
-- whose feisty drumbeat and whimsical mix of instruments create a Brazilian
version of Mardi Gras music -- and tracks like the lively samba "Gente Boa."
But there are some subtle moments as well, including the gentle vocal ballad
"Nana" and the gentler samba "Homeopatia." He pays homage to Pascoal with a
seductive, "out there" rendition of "Juvenal no Grumar," which blends off
meter rhythms with heavy doses of swinging jazz and odd vocal effects.
Overall, this is a fascinating collection aimed squarely at lovers of all
things Brazilian.
***
Unlike the blissful Rio warmth
of Duduka Da Fonseca’s Samba Jazz . . . (reviewed elsewhere in this
Episode), Brazilian pianist Jovino Santos Neto is a hard charger, his music
illustrated in sharp jabs, brisk turns and dryly pungent rhythms. Challenged
at every twist by drummer Marcio Bahia and soulful harmonica player Gabriel
Grossi, Neto lays down a constant whirl of bubbling, hot-as-lava sounds.
Having carefully chosen a crack band, they proceed to improvise in the most
unlikely places, stretching simple melodies into chattering conversations.
The dancing figures of “Bach-te-vi” benefit from Grossi’s rapt harmonica
swells, while Bahia is a wonder throughout, his snap, crackle, pop energy
giving the music an endless jolt. “Estrela do Mar” escalates over a chunky
left hand piano rhythm and Bahia’s slightly nervous hi-hat/snare pattern; a
pulsating samba underpins the warm harmonica melody of “Marfin”; “Gentle
Boa” keeps up the pace with a fast bossa decorated with intense hand
percussion and the furious guitar of Marcos Amorim. Roda Carioca is at its
heart a summer record, a sun-streaked performance that dazzles.
-- Ken Micallef
***
By Mark Holston
The coffee bars of Seattle may be world class, but nothing beats sipping a
bracing cafezinho at an outdoor café in Rio de Janeiro, with the undulating
lines of the city’s famed mosaic tile sidewalks snaking beneath your feet
and the sound of funky sambas in the air. So, once or twice a year,
Brazilian multi-instrumentalist and composer Jovino Santos Neto trades the
cloud-shrouded, rain-soaked surroundings of his adopted home in the Pacific
Northwest for the sun-drenched ambience of his Brazilian terra natal. But
there’s more than coffee on the mind of this Carioca when he lands in Rio --
he usually heads straight to his favorite recording studio to plunge into a
long-conceptualized project, knowing that the Brazilian music gods looking
over his shoulder guarantee divine results.
Roda Carioca (Rio Circle), Santos Neto’s latest for the Adventure Music
label, was recorded in a small studio in one of Rio’s most historic
neighborhoods, Santa Teresa. From the hub of the basic piano trio of Santos
Neto, bassist Rogério Botter Maio and drummer Marcio Bahia, the circle
expands on different tracks to incorporate a number of celebrated guest
musicians. Among them are Brazil’s legendary Hermeto Pascoal, with whom
Santos Neto performed for 15 years, guitarist Marcos Amorim, and vocalist
Joyce, who vivaciously scats her way through a celebratory version of Moacir
Santos’ classic “Nanã,” one of the few non-originals on the 11-track set.
The leader, however is a prolific composer and titillates listeners with a
zesty repertoire based on choro, marcha and other traditional Brazilian
forms. His joyous samba “Festa de Erê,” performed by the trio, is a key to
Santos Neto’s sound. The title means “Children’s Party,” and it lives up to
its name, exploding in a dozen different directions like a piñata that has
taken a direct hit. Carefree and spontaneous, yet finely crafted and
performed with virtuosic flair, the piece is a study in what makes Brazilian
music so inherently appealing.
***
from World Music Central website
by A. Romero
And, finally, pianist Jovino Santos Neto takes the listener through
a long list of Brazilian styles. Jovino has lived in Seattle (Washington,
USA) for many years. For Roda Carioca he returned to his hometown of Rio de
Janeiro, where he recruited some of Brazil's most impressive performers to
contribute to the CD's eleven tracks. His approach on Roda Carioca is jazz
based, featuring piano, bass and percussion. The vibrant album contain choro,
coco, gafieira, marcha rancho, and samba. The collaborators participating in
the album include special guests such as the legendary Hermeto Pascoal,
singer Joyce, percussionist Fabio Pascoal, Hamilton de Holanda on mandolin,
guitarist Marcos Amorim and Gabriel Grossi on harmonica. Jovino will perform
a small series of shows and workshops throughout the US to support the
release of Roda Carioca.